Journal articles on the topic 'Film genre theory'
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Grindon, Leger. "The Boxing Film and Genre Theory." Quarterly Review of Film and Video 24, no. 5 (September 10, 2007): 403–10. http://dx.doi.org/10.1080/10509200500536066.
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Roggen, Sam. "Notions of Genre: Writings on Popular Film Before Genre Theory." Historical Journal of Film, Radio and Television 37, no. 3 (March 28, 2017): 579–81. http://dx.doi.org/10.1080/01439685.2017.1308144.
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Lappin, Lou, and Barry Grant. "Film Genre Reader." Theatre Journal 39, no. 3 (October 1987): 407. http://dx.doi.org/10.2307/3208173.
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Kosachova, O. O. "Modern Historical Film: Genre and Dramaturgic Features." Culture of Ukraine, no. 71 (April 2, 2021): 41–48. http://dx.doi.org/10.31516/2410-5325.071.05.
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The aim of the article is to explore of genre and dramaturgic features of a modern historical film.
The research methodology is based on the systematic use of materials from the scientific branches of art and cultural science, cinema theory and history, psychology, etc. The empirical basis of the study included a series of historical films of the XXI century, a detailed analysis of genre and dramaturgic features was carried out.
The results. Historical drama is the leading genre of a film based on real events, which grinds the past, turning it into a mirror image of the present. Thus, the theme of the film, its newsworthiness has the equal importance along with the genre, which ensures the integrity of the material, director’s and cameraman’s methods and techniques and the style, which forms the aesthetic expressiveness of the film.
Films based on real events, which premiered in the XXI century, were chosen as the empirical basis of the study. As the core of the plot were chosen issues of human rights violations, social discrimination and injustice. These problems have their origins in ancient times and have long been the main obstacles for the establishment of democratic values in society.
We found that modern historical drama has significant morphological differences from the XX century drama: lack of epicism, abandonment of the tragic component in favor of a happy ending, the transition from melodramatics to hybridization of drama with more dynamic genres: action, road movie, western. At the same time, we see that modern historical drama has signs of genre elasticity and syncretism, which allows forming new multigenre constructions that have not yet entered scientific circulation in the domestic press (action drama, crime drama, western drama, kidnap drama, etc.).
The dramatic features of modern historical films are closely related to the genre construction of the films. The genre of autobiography determines the priority of using the “plot of growing up” and “plot of the experience”, when the main characters grow up psychologically and fight for their rights: life, freedom, personal inviolability. The hero — is dominated archetype, a person who serves others, sacrifices himself or puts himself in constant danger for the sake of others.
The issue of social inequality in the historical context, when realities separate the viewer from the depicted events for a significant period of time, is reflected in the historical film more often and has a proper response from the viewer. At the same time, the modern issue of human rights, which demonstrates the principle of “democracy for the elect” is not so popular among modern fans of historical cinema.
Novelty. The scientific novelty of the article is to identify the modern morphology of historical film, the actualization of the relationship between the genre, the magnitude of the theme of historical film, its dramatic solution and the value expectations of the audience.
The practical significance. The main theses and results of the research may be useful for practicing screenwriters of historical films. The recommendations in this article contribute to the creation of a commercially successful and psychologically powerful film product. In addition, the article can be used for academic disciplines in film schools in Ukraine and abroad.
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Vernallis, Carol. "The aesthetics of music video: an analysis of Madonna's ‘Cherish’." Popular Music 17, no. 2 (May 1998): 153–85. http://dx.doi.org/10.1017/s0261143000000581.
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When we become engaged with a music video, what draws us in? What constitutes craft or artistry in the genre? Theorists of music video have usually addressed these questions from the perspective of sociology, film theory or popular cultural studies. Film theory, in particular, has had a tremendous influence on the analysis of music video, because of the two genres' apparently similar structuring of sound and image. But by the criteria of film, music videos tend to come off as failed narratives; the genre's effectiveness eludes explanation.
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Verevis, Constantine. "Remaking Film." Film Studies 4, no. 1 (2004): 87–103. http://dx.doi.org/10.7227/fs.4.6.
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What is film remaking? Which films are remakes of other films? How does remaking differ from other types of repetition, such as quotation, allusion, adaptation? How is remaking different from the cinemas ability to repeat and replay the same film through reissue, redistribution and re-viewing? These are questions which have seldom been asked, let alone satisfactorily answered. This article refers to books and essays dealing directly with ‘film remakes’ and the concept of ‘remaking film’, from Michael B. Druxman‘s Make It Again, Sam (1975) to Horton and McDougal‘s Play It Again, Sam (1998) and Forrest and Koo‘s’ Dead Ringers: The Remake in Theory and Practice (2002). In addition, this article draws upon Rick Altman‘s Film/Genre, developing from that book the idea that, although film remakes (like film genres) are often ‘located’ in either authors or texts or audiences, they are in fact not located in any single place but depend upon a network of historically variable relationships. Accordingly this discussion falls into three sections: the first, remaking as industrial category, deals with issues of production, including industry (commerce) and authors (intention); the second, remaking as textual category, considers texts (plots and structures) and taxonomies; and the third, remaking as critical category, deals with issues of reception, including audiences (recognition) and institutions (discourse).
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Wanderer, Jules J. "When Film Critics Agree: Does Film Genre Matter?" Empirical Studies of the Arts 29, no. 1 (December 28, 2010): 39–50. http://dx.doi.org/10.2190/em.29.1.c.
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Boczkowska, Kornelia. "Easy Rider and Thelma & Louise revisited, or on experimental film remakes of the road movie." Journal of Adaptation in Film & Performance 14, no. 2 (July 1, 2021): 145–61. http://dx.doi.org/10.1386/jafp_00050_1.
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Although remakes and road movies are particularly endemic to Hollywood cinema, experimental filmmakers have also embraced the road movie tradition and reproduced existing material for new audiences to retell, readdress and rearticulate the prior story, exploring the dialectics between repetition, differentiation and genre. Interestingly, however, while the remake, seen mostly as a genre phenomenon, has received some critical attention, remaking in the avant-garde film scene has been rarely explored by adaptation theory and practice. To somewhat fill in this gap, the article situates two recent avant-garde films, James Benning’s Easy Rider (2012) and Jessica Bardsley’s Goodbye Thelma (2019), within the framework of remake and adaptation studies and proposes that both works function as acknowledged and transformed remakes of the classic road movies, in which the outcome radically differs from the original story and crosses the temporal and spatial boundaries of the genre. In doing so, the projects fit in with the broader tradition of cinematic reworking and recycling as they continuously reference and exploit earlier films by creating their alternative versions as well as a strong sense of place and movement.
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Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.
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The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
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Maras, Steven. "Notes on a Genre to Come: Screenwriting and the 'Thesis-film'." Cultural Studies Review 10, no. 2 (August 12, 2013): 85–98. http://dx.doi.org/10.5130/csr.v10i2.3473.
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This piece draws together two areas: screenwriting and film or video works (to be jointly referred to as ‘films’) that explicitly try to undertake a conceptual practice. Conceptual practice is to be understood here not within the exclusive framework of conceptual or abstract art, but of acts and interventions in theory of the kind that crossover between the academy and the broader culture. Interventions of this kind have (especially in the form of the essay film, and films by humanities academics) been a part of Australian screen culture since at least the 1980s. While these interventions may not appear to be central to much cultural studies work, I want to suggest that cultural studies is intertwined with them in at least three ways.
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Menne, Jeff. "The Cinema of Defection: Auteur Theory and Institutional Life." Representations 114, no. 1 (2011): 36–64. http://dx.doi.org/10.1525/rep.2011.114.1.36.
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This essay identifies a genre of Hollywood film developed in certain peak years of poststudio reorientation, 1967–1974, the narratives of which might be deemed anticlassical for their tendency to depict protagonists—typically a defecting couple—as objects more than subjects. These films, significantly the work of those directors known as auteurs, can be taken as the aesthetic version of the New Left's political repudiation of institutional life.
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Selbo, Jule. "The constructive use of film genre for the screenwriter: mental space of film genre first exploration." Journal of Screenwriting 1, no. 2 (May 1, 2010): 273–89. http://dx.doi.org/10.1386/josc.1.2.273/1.
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Reeck, Laura. "Gender and Genre in Banlieue Film, and the Guerrilla Film Brooklyn." Romance Studies 36, no. 1-2 (April 3, 2018): 76–90. http://dx.doi.org/10.1080/02639904.2018.1457829.
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Frome, Jonathan. "Intuition, Evidence, and Carroll's Theory of Narrative." Projections 14, no. 1 (March 1, 2020): 37–57. http://dx.doi.org/10.3167/proj.2020.140104.
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AbstractOver the last thirty years, Noël Carroll has elaborated his theory of erotetic narration, which holds that most films have a narrative structure in which early scenes raise questions and later scenes answer them. Carroll's prolific publishing about this theory and his expansion of the theory to issues such as audience engagement, narrative closure, and film genre have bolstered its profile, but, despite its high visibility in the field, virtually no other scholars have either criticized or built upon the theory. This article uses Carroll's own criteria for evaluating film theories—evidentiary support, falsifiability, and explanatory power—to argue that erotetic theory's strange position in the field is due to its intuitive examples and equivocal descriptions, which make the theory appear highly plausible even though it is ultimately indefensible.
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Bochniarz, Marek S., and Przemysław Sztafiej. "Japońskie filmy o Ajnach w perspektywie amerykańskiego westernu." Przestrzenie Teorii, no. 31 (December 6, 2019): 357–72. http://dx.doi.org/10.14746/pt.2019.31.19.
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Recently the topic of transnationalism in the arts has become a popular strand of academic research. Nevertheless, this phenomenon is not an entirely new concept. In cinema it has been a constant element since its inception. One of the most important inspirations for world cinema has been the traditional cinematography of the USA, especially from the period of the great film studios, with the western being one of the most popular and imitated genres. Although it seems to be inextricably connected with the American myth of the frontier, the Wild West, the theme of expansion, and the conflict of ‘civilization’ and ‘wildness/savagery’ has reverberated outside the USA. In Japan westerns resonated on both the consumer-commercial and artistic levels. Japanese filmmakers utilized elements of the genre while weaving in some native contexts. The history of colonization of the northern island of Hokkaidō and its native inhabitants – the Ainu people – have been a point of reference for Japan-based western films. In this article, the authors analyze the western-specific genre elements in Japanese films about the Ainu people, while concentrating on the portrayal of individuals, groups and human relations on the frontier.
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Estes, Jack. "Food, Film, and Culture: A Genre Study." Journal of Popular Culture 40, no. 4 (August 2007): 738–40. http://dx.doi.org/10.1111/j.1540-5931.2007.00439.x.
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Plemenitaš, Katja. "Songs as Elements in the Generic Structure of Film Musicals." ELOPE: English Language Overseas Perspectives and Enquiries 13, no. 1 (June 20, 2016): 31–38. http://dx.doi.org/10.4312/elope.13.1.31-38.
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The paper focuses on the description of film musicals as a subgenre of the genre family of musicals. Their dramatic structure is examined in terms of the generic elements that constitute the progression of a story expressed through the combination of spoken dialogue, songs and dance. The function of songs in the generic structure of film musicals is examined in the framework of the systemic-functional theory of register and genre. Special attention is given to the role of songs in the unfolding of the narrative. The theoretical observations about the role of songs in the register and genre of film musicals are then illustrated with an analysis of the use of songs in the TV musical High School Musical 2.
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Wees, William C. ": Direct Theory: Experimental Film/Video As Major Genre . Edward S. Small." Film Quarterly 50, no. 1 (October 1996): 44–46. http://dx.doi.org/10.1525/fq.1996.50.1.04a00130.
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Engell, Lorenz. "Versuch und Irrtum." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 57, no. 2 (2012): 126–35. http://dx.doi.org/10.28937/1000107598.
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Der Beitrag untersucht Lars von Triers metafilmische Komödie The Boss of it all, ausgehend von Jean Francois Lyotards Überlegungen zum ästhetischen und philosophischen Experiment und entlang von Stanley Cavells Annahmen zum Genre als Medium sowie zur Komödie als Genrereflexion. The Boss of it all legt demnach den experimentellen Charakter des Genrefilms, des Filmgenres und speziell des Komischen frei. Der Film zeigt sich als ein paradoxes experimentelles Gebilde, das sich von seinem Autor, von den Genreregeln und von den Zuschauererwartungen ablöst, einen eigenen Handlungs- und Reflexionsstatus findet und genau darin Produkt der Anordnungen wird, die er in Frage stellt. Diesen ontologisch und handlungstheoretisch eigensinnigen Status des Films versucht der Beitrag im Begriff des Agenten zu fassen.<br><br>The contribution explores Lars von Triers meta-filmic comedy The Boss of it all, starting from Jean Francois Lyotard’s reflections on the experiment in art and philosophy, and following the lines of Stanley Cavell’s assumptions on »genre as medium« and on comedy as reflexive form of film genre. The Boss of it all unfolds the experimental character of genre film, fi lm genre, and comedy. The fi lm presents itself as a paradoxical experimental object, detaching itself from its author, from genre rules and spectator’s expectations. It acquires an independent status of action and reflection, and precisely by this looks at itself as a product of the orderings which it puts into question. This is described here under the aspect of ontology as well as in terms of action theory with the help of the concept of the agent.
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Pedersen, Peter Ole. "The Never-ending Disaster: 9/11 Conspiracy Theory and the Integration of Activist Documentary on Video Websites." Acta Universitatis Sapientiae, Film and Media Studies 6, no. 1 (August 1, 2013): 49–64. http://dx.doi.org/10.2478/ausfm-2014-0004.
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Abstract The article examines how documentary film is transformed when distributed through video sharing web sites. The conspiracy-theoretical production Loose Change (2005, 2006, 2007, and 2009) is used as a case study of how the mediation process connected with net-based distribution affects the materiality of film and alters our conception of both visual evidence and genre. With a point of departure in the media theory of Jay David Bolter and Richard Grusin and their twin concepts of immediacy and hypermediacy it is discussed how the film culture on the internet develops new media institutions and establishes what could be described as “live” archives. A concluding reflection illustrates how this type of film is part of an ongoing media-determined and cultural transformation of the documentary genre, a process that places its historical and political content halfway between fact and fiction
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Akser, Murat. "Nation, Genre and Female Performance in Canadian Cinema." CINEJ Cinema Journal 2, no. 2 (June 4, 2013): 149–66. http://dx.doi.org/10.5195/cinej.2013.72.
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This paper outlines a theory of sytle and performance in Canadian film based on geography, gender and genre. It is possible to form a theory of Canadian cinema based on theme-genre (strong women, nature as oppressor in dysfunctional family melodramas) in which female characters, as well as their personas, interact with both a physical geography and a social space to define a Canadian identity.
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Visch, Valentijn, and Ed Tan. "Narrative versus style: Effect of genre-typical events versus genre-typical filmic realizations on film viewers’ genre recognition." Poetics 36, no. 4 (August 2008): 301–15. http://dx.doi.org/10.1016/j.poetic.2008.03.003.
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Kratzke, Peter. "Dark, Darker, Darkest: The Mood and Genre of Sardonic Death in “An Occurrence at Owl Creek Bridge” as Told by Ambrose Bierce, Robert Enrico, and Rod Serling." Genre 52, no. 2 (July 1, 2019): 109–25. http://dx.doi.org/10.1215/00166928-7585867.
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Comparing Ambrose Bierce’s “An Occurrence at Owl Creek Bridge” (as framed by Bierce’s illuminating philosophical attitude) with the Frenchman Robert Enrico’s film adaptation (how his adaptation decisions are manifest in the film) and Rod Serling’s use of that film for an episode of The Twilight Zone (as the show’s cultural context was and is perfect for the task) reveals afresh that mood (involving an author’s attitude toward content) is necessarily more important than genre (involving content itself) when narrative content approaches the unknowable. What perhaps surprises in this comparison is that, arguably, Bierce’s short story is the least dark of the three versions of what may be called the mood and genre of sardonic death, for it only denounces (especially in terms of free will versus determinism) the doomed man, while Enrico’s film elicits sympathy and Serling’s episode empathy.
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Simonton, Dean Keith. "Film as Art versus Film as Business: Differential Correlates of Screenplay Characteristics." Empirical Studies of the Arts 23, no. 2 (July 2005): 93–117. http://dx.doi.org/10.2190/dm5y-fhem-cxqt-uexw.
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This investigation determined whether certain screenplay features can differentiate films directed toward artistic expression from those aimed at financial gain. The sample consisted of 1436 English-language, narrative films released between 1968 and 2002. The variables included 4 economic indicators, 5 movie award assessments, 2 composite critical evaluations, and 24 screenplay characteristics. A subset of those characteristics distinguished film as art from film as business. In particular, the two types could be distinguished according to the impact of sequels, adaptations (e.g., from plays), writer-directors (or “Auteurs”), genre (viz., dramas), and MPAA ratings (especially Restricted). These contrasts help explain why budget and box office variables fail to correlate with the most important movie awards and are even negatively correlated with critical acclaim.
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Soberon, Lennart. "Reaganite America and Its Mnemonic Menaces." Film Studies 22, no. 1 (May 1, 2020): 129–49. http://dx.doi.org/10.7227/fs.22.0009.
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During the 1980s the spectre of the Vietnam War haunted the sites of cinema and popular culture in various forms. Whereas a rich body of scholarly research exists on cinematic iterations of the Vietnam war as trauma, the discursive dynamics between memory, ideology and genre in relation to enemy image construction are somewhat underdeveloped. This article utilises genre studies, conflict studies and trauma theory in analysing how the representations of film villains interact with the construction of cultural trauma and national identity. Considering the American action thriller to be an important site for processes of commemoration and memorialisation, the discursive construction and formal articulation of national trauma are theorised within the genre. Additionally, a thematic and textual analysis was conducted of a sample of forty American action thriller films. The analysis illustrates how the genre operates through a structure of violent traumatisation and heroic vindication, offering a logic built on the necessity and legitimacy of revenge against a series of enemy-others.
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Chusna, Inayatul. "Stereotip Dunia Ketiga dalam Film Bride and Prejudice." Buletin Al-Turas 22, no. 1 (January 31, 2016): 65–87. http://dx.doi.org/10.15408/bat.v22i1.3013.
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Abstract The focus of this research is to expose the representation of the Third World (India) in a transnational film, Bride and Prejudice. By using the theory of representation and some concepts in postcolonial studies, the representation of the Third World are revealed through the characters of the First and Third World and their relationship. The representation of the Third World that creates center and peripheral, and the image of Center as everything confirm the stereotypical representation of the Third World. The love story of the film between the First and Third World characters actually creates prejudices which once again reflecting the First and Third World stereotypes. The genre of the film, the transnational genre, expected to give space for the Third World to be visualized equal cannot remove the stereotypical representation. Bride and Prejudice becomes a transnational film that presents colonial voices. Keywords: Postcolonialism, Representation, First and Third World, Stereotype. ------- Abstrak Fokus penelitian ini menjelaskan tentang representasi dunia ketiga (India) dalam sebuah film transnasional, Bride dan Prejudice. Dengan menggunakan teori representasi dan beberapa konsep kajian poskolonial, representasi dunia ketiga digambarkan melalui hubungan dunia pertama dan ketiga para tokoh film tersebut. Representasi dunia ketiga yang menyebabkan terjadinya pusat dan pinggiran, dan penggambaran pusat sebagai pengokohan stereotip representasi dunia ketiga. Cerita cinta dalam film tersebut, antara para tokoh dunia pertama dan ketigapada dasarnya menimbulkan praduga yang menggambarkan stereotipe dunia pertama dan ketiga. Genre film ini, genre transnasional, diharapkan dapat memberikan ruang bagi dunia ketiga mengenai kesetaraan tidak dapat menghapus stereotip terhadapnya. Bride dan Prejudice menjadi sebuah film transnasional yang merepresentasikan suara-suara kolonial. Katakunci: poskolonial, representasi, dunia pertama dan ketiga, stereotip.
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Kronshage, Eike. "Weimar Wallace: Three Early German Screen Adaptations of Novels by Edgar Wallace (1931–1934)." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (December 18, 2019): 375–91. http://dx.doi.org/10.1515/zaa-2019-0028.
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Abstract The article analyzes three little-known films from the early 1930s which are based on novels by British crime thriller writer Edgar Wallace. It presents the films and their genre as a case study for crime cinema and politics in the transition from the Weimar Republic to Nazi Germany by contextualizing them within the rapidly changing film market after January 1933. The series of popular Weimar Wallace films ended abruptly with Hitler’s rise to power, which also put a stop to most of the country’s transnational cinema practices, including film adaptations of novels which were then considered as un-German.
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Bellardi, Marco. "The cinematic mode in fiction." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.
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AbstractThis article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of ‘para-cinematic narrator’. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background – i. e. the “narrative relief” (Weinrich 1971) – in film form tends to favour the foreground style, and that such narrative relief is ‘flattened’ due to the “monstrative” quality (Gaudreault 2009) of the medium. This flattening is remediated in strongly cinematised fiction and conveyed through the use of verbal tenses. The imitation of montage and specific cinematic techniques is conceived, consequently, as a separate feature that can integrate into this remediated, para-cinematic temporality. Finally, the author recalls the concept of “mode” in genre theory (Fowler 2002), which describes a “distillation” of traits from one genre to another. With the category of cinematic mode the remediation of basic traits from film to literary fiction can be framed in terms of genre-related discourses.
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Cefalu, Paul. "What's So Funny about Obsessive-Compulsive Disorder?" PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 44–58. http://dx.doi.org/10.1632/pmla.2009.124.1.44.
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During the past several decades, obsessive-compulsive disorder (OCD) has been widely represented in novels, memoirs, film, television, and other genres and media. What distinguishes representations of OCD from depictions of other mental disorders is the frequency with which OCD is treated with humor and levity. Drawing on genre theory, disability studies, and philosophies of humor, this essay explains why OCD symptomatology evokes laughter and resonates with contemporary popular culture. The essay focuses on the ways in which popular portrayals of OCD distort the actual experience of the disorder.
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Scafirimuto, Guglielmo. "Introduction to the diasporic autobiographical documentary." Journal of Global Diaspora 1, no. 1 (June 1, 2020): 107–22. http://dx.doi.org/10.1386/gdm_00007_1.
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This article aims to introduce a new film genre that I call ‘diasporic autobiographical documentary’ that I have been working on during my last years of research, first in France and now in a broader context. In this genre, diasporic cinema and autobiographical documentary meet and create an original ensemble, especially produced in the last twenty years, in order to give place to the search for identity by individuals belonging to more than one nation and culture. In the first part, the present text exposes the principal axes of definition of this body of work, following Raphaëlle Moine’s theory of film genre. In the second part, it deals with two concepts necessary to understand the main issues of this genre: the diasporic subject and the origin. In the search of their lost origin and of their collective memories, diasporic subjects negotiate their identity through the subjective enunciation of the documentary, and offer an important work of reflection on today transnationalism and multiculturalism.
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HANTKE, STEFFEN. "The Military Horror Film: Speculations on a Hybrid Genre." Journal of Popular Culture 43, no. 4 (July 19, 2010): 701–19. http://dx.doi.org/10.1111/j.1540-5931.2010.00766.x.
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Haralambidou, Penelope. "The architectural essay film." Architectural Research Quarterly 19, no. 3 (September 2015): 234–48. http://dx.doi.org/10.1017/s1359135515000524.
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Recent advancements in digital technology, have not only deeply transformed the production of film and architecture but brought the two disciplines closer than ever before. The digital has allowed ground-breaking, if not hasty, changes in the way that architecture is not only produced, but also designed and conceived. In contrast, however, to the extensive use of computational design to interrogate the formal, material and structural possibilities of architecture, this article explores how new time-based media and computer generated imagery in film can unlock the story-telling, political and philosophical potential of architecture. I will focus on three projects – Agit-Prop (2014) by Liam Davis, Wates House (2014) by Daniel Cotton and my project Déjà vu (2009) – which combine techniques and tropes from both cinema and design as a means for reflection and commentary in architecture.Originally coined by the German artist Hans Richter in the 1940s, the term ‘essay film’ describes an intimate, allusive and idiosyncratic genre at the margins between fiction and documentary. Richter poignantly suggests that the essay film makes the invisible world of thoughts and ideas visible on the screen; it produces complex thought-reflections that are not necessarily bound to reality, but can also be contradictory, irrational, and fantastical. Dealing with political and philosophical issues, the essay film is cinema at its most engaged and liberated.Examining the three projects in comparison to examples of essay films that reflect on architecture or the city, such as Dziga Vertov’s, Man with a Movie Camera (1929), Wim Wender’s, If Buildings Could Talk (2010), and Alain Resnais’s, Toute la mémoire du monde (1956), my aim is to propose a new hybrid genre lying at the boundaries between architectural design, theory and film, what I call: the ‘architectural essay film’.
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Prokhorova, Svetlana N. "Advertising insert as a special genre of advertising text." Socialʹnye i gumanitarnye znania 6, no. 4 (December 8, 2020): 388. http://dx.doi.org/10.18255/2412-6519-2020-4-388-397.
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The article deals with the translation of feminine film titles on the example of English filmonyms of the last decade. The article is aimed at the study of the filmonyms’ translation in the Russian film discourse, which leaves its specific imprint on the translator’s decisions. The paper treats the translation of feminine-marked filmonyms as a topical problem of the linguistics of gender and the theory of translation - the study of the means of translation of feature film titles from English to Russian from the point if view of gender-marked translators’ slant. The application of the method of typological synchronous comparison allows to compare translation from the point of view of the feminine-masculine balance and the presence of feminine markers. The comparison is based on the thesis of adaptation and deformation of the source English film title. If the adaptation focuses on the convergence of the translation to the source culture and its specifics and is oriented on the mutrual cultural dialogue, then the deformation, on the contrary, prioritises the peculiarities of the accepting culture. The author of the article proves the thesis that in many cases the translation is not tolerant, the point of view of the translator affects the translation and therefore women are presented as nervous, obese, mentally different and emotionally unstable.
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Wees, William C. "Review: Direct Theory: Experimental Film/Video As Major Genre by Edward S. Small." Film Quarterly 50, no. 1 (1996): 44–46. http://dx.doi.org/10.2307/1213333.
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Christopher, Renny. "Negotiating the Viet Nam war through permeable genre borders:Aliensas Viet Nam War film;Platoonas horror film." Lit: Literature Interpretation Theory 5, no. 1 (June 1994): 53–66. http://dx.doi.org/10.1080/10436929408580126.
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Teo, Stephen. "Confucian Orientalism and Western Outlook in Martial Arts Film." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 65–82. http://dx.doi.org/10.1515/jcfs-2021-0006.
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Abstract This paper discusses the martial arts genre with reference to the films of the Japanese master Kurosawa Akira and the Chinese director Zhang Yimou, discussing how both directors converge in their themes and styles through the concept of “Eastern Orientalism.” Such Orientalism is based on Confucian precepts of zhengming (rectification of names), chaos theory, and the defense of the people undertaken by militaristic but heroic individual protagonists (samurai or xia). In raising the issue of Orientalism, the paper probes into the Western perceptions of the genre and the imperative of directors like Kurosawa and Zhang in pandering to Western tastes. However, these same directors seem equally preoccupied with fostering a sense of self and nationalistic expression in their response to and treatment of Orientalized content. The paper concludes with a discussion on The Great Wall (2016) as a comparative review of the Western and Eastern viewpoints at play in the US-China co-production. Here the analysis revolves around the issue of sameness, dramatized as a main theme in the film.
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Szczęsna, Ewa. "O twórczym przekraczaniu granic. Przetworzenia i reprezentacje w przestrzeni sztuki." Przestrzenie Teorii, no. 31 (December 6, 2019): 209–26. http://dx.doi.org/10.14746/pt.2019.31.11.
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The paper analyzes the thesis that constantly transgressing boundaries in art is a fundamental principle and essential condition for artistic progress. Crossing external (the art – other discourses) and internal (between various art genres) boundaries is analyzed on the basis of transformations (especially adaptation) and representations. Dialogue relations initialized by art crossing the boundaries are analyzed as well: reinterpretations, polemics, extensions and supplementations. There is also a discussion of the ways in which semiotic and media boundaries are trangressed, especially the semiotic and media borders that are essential for the semiotic sphere of one artistic genre for the semiotic and media sphere of the other. The article refers to examples taken from literature, film, sculpture and painting.
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Marta Marini, Anna. "The Hybridization Of The Noir Genre As Expression Of Ethnic Heritage: Rafael Navarro’s Sonambulo." Revista de Estudios Norteamericanos, no. 25 (2021): 137–61. http://dx.doi.org/10.12795/ren.2021.i25.07.
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In his ongoing comic book series Sonambulo, versatile artist Rafael Navarro has been able to channel his Mexican American cultural heritage by creating a unique blend of narrative genres. In his work, Navarro exploits classic American film noir as a fundamental reference and hybridizes it with elements distinctive to a shared Chicanx heritage, such as lucha libre cinema, horror folktales, and border-crossing metaphors; the construction of an oneiric dimension helps bring the narrative together, marking it with a peculiar ambiance. Drawing heavily on a diverse range of film genres, as well as ethnocultural pivots, this comic book series carves out a definite space in the panorama of the Mexican American production of popular culture, adding a powerful voice to the expression of US ethnic minorities.
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Fallows, Tom. "Independent dreams, American nightmares: Industrial transgression and critical organization in the work of George A. Romero." Horror Studies 12, no. 1 (March 1, 2021): 45–62. http://dx.doi.org/10.1386/host_00028_1.
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Film critic Robin Wood categorized George A. Romero as a transgressive genre filmmaker, a director who with films such as Dawn of the Dead offered a consistent, and consistently bloody, attack on the normative social constructs that dominate US culture. Within such advocacy, Wood helped define Romero as a specific cultural type – as a horror film auteur. This article considers Wood’s framing within a wider critical, commercial and industrial context, asking how this ideological analysis became, paradoxically, part of a more conservative organization of Romero. By drawing upon business theory and a media industries methodology, I shed new light on Romero’s efforts to cultivate a boundaryless independent cinema unbeholden to institutional norms, demonstrating challenges to leadership roles, market orientation, financing and genre. While Romero’s typecasting as a horror auteur was ultimately delimiting, I also consider the filmmaker’s complicity in this codification, scrutinizing his knowing attempts to parlay brand-name recognition into a lasting platform for non-Hollywood production. This article offers a unique insight into the industrial and business contexts of horror cinema, revealing a rare intersection between critical reception and industrial navigation while complicating our understanding of both Wood’s seminal writings and one of the genre’s totemic ‘masters’.
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Cowan, Philip. "Post-Carroll." Projections 14, no. 3 (December 1, 2020): 72–89. http://dx.doi.org/10.3167/proj.2020.140306.
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Analyzing moving images is one of the fundamental practices in our attempt to understand the medium. Building on Noël Carroll’s functional theory of film style, this article attempts to define a taxonomy of functional elements of shot composition in order to establish a clear methodology for the analysis of a moving image. Carroll criticizes forms of stylistic analysis that limit themselves to a few pre-selected aspects of the moving image, for example, genre motifs, individual filmmakers’ personal traits, or broad studies of film movements. Numerous writers have presented breakdowns of component parts of a moving image, often in wider discussions of film form. However these lists are often incomplete or do not have a clear methodology. This article identifies the key components of a moving image that could serve a functional purpose in individual films.
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Токоева, Жумабубу. "ЖАНРОВОЕ СВОЕОБРАЗИЕ СОВРЕМЕННОГО КЫРГЫЗСКОГО КИНО." Vestnik Bishkek Humanities University, no. 51 (March 19, 2020): 20–24. http://dx.doi.org/10.35254/bhu.2020.51.15.
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Аннотация: Предметом исследования статьи является рассмотрение жанрового разнообразия современного кыргызского кино. Основное внимание автор акцентирует на культурологическом анализе всех «авторских» фильмов кыргызских режиссеров в постсоветский и современный периоды. Главной целью исследования является выявление жанрового своеобразия современного отечественного кино. Новизна статьи заключается в том, что автор впервые в отечественной кинотеории рассматривает особенности и своеобразие киножанров в современном кыргызском кино на примере таких известных всему миру фильмов, как кинотрилогия А. Абдыкалыкова «Селкинчек», «Бешкемпир», «Маймыл»; «Бурная река, безмятежное море» М. Сарулу, «Айыл окмоту» Э. Абдыжапарова, «Неизвестный маршрут» Т. Бирназарова, «Курманжан-датка» С. Шер-Нияза, «Саякбай» Э. Абдыжапарова и других. Результаты исследования могут быть использованы в дальнейшей разработке культурологических проблем кыргызского киноискусства, а также в практической деятельности работников кыргызских кинематографистов. Ключевые слова и фразы: «авторское кино», «девяностники», тема катастрофизма, тема любви, тема самоидентификации, нонконформизм, перфекционизм, кинометафора, автобиографический триптих, трагикомедия, социальная сатира, фильм-притча, фильм-раздумье, историческая драма, мюзикл. Аннотация: Илимий макалада кыргыз киносунун азыркы жанрынын ар түрдүүлүгү изилденет. Негизги көңүл СССРден кийнки жана азыркы мезгилдердеги "автордук" кыргыз режиссерлордун тасмаларын анализдеп культурологиялык талдоо жургузуу болуп эсептелинет. Изилдөөнүн негизги максаты азыркы кыргыз киносунун жанрдык озгочолукторун аныктоо болуп саналат. Мисал катары томонку тасмалар анализденген: А. Абдыкалыковдун автобиографиялык училтеги: “Селкинчек”, “Бешкемпир”, “Маймыл”; "Бороондуу дарыя, чалкыган деңиз" M. Сарулу, Э.Абдыжапаровдун "Айыл өкмөтү", Т. Бирназаровдун "Белгисиз маршрут", "Курманжан Датка" Садык Шер-Нияз, "Саякбай" Э. Абдыжапаров. Макаланын натыйжаларын кыргыз киносунун маданий маселелерин андан ары иштеп чыгууда пайдаланса болот, ошондой эле кыргыз кинематография жаатындагы практикалык кызматкерлер да колдонсо болот. Түйүндүү сөздөр жана сөз айкаштары: "автордук кино", катастрофизм темасы, сүйүү темасы, идентификация темасы, нонконформизм, перфекционизм,кинометафора, трагикомедия, социалдык сатира, фильм-ой жугуртуу, тарыхый драма, мюзикл. Resume: The subject of this article is the consideration of the genre diversity of contemporary Kyrgyz cinema. The author focuses on the culturological analysis of all the "copyright" films of Kyrgyz directors in the post-Soviet and modern periods. The main goal of the study is to identify the genre identity of modern Russian cinema. The main research method is a comprehensive, systematic approach to the study of this problem, which is based on a comparative historical analysis method. The novelty of the article lies in the fact that the author for the first time in the national cinema theory examines the features and originality of cinema genres in contemporary Kyrgyz cinema by the example of such world-famous films as A. Abdykalykov’s film trilogy “Selkinchek”, “Beshkampir”, “Maymyl”; “Rough River, Tranquil Sea” M. Sarulu, “Aiyl okmotu” E. Abdyzhaparova, “Unknown Route” T. Birnazarova, “Kurmanzhan-Datka” S. Sher-Niyaza, “Sayakbai” E. Abdyzhaparov and others. The results of the study can be used in the further development of the cultural problems of Kyrgyz cinema, as well as in the practical activities of Kyrgyz filmmakers. In the conditions of the modern development of cinematography, the combination of multi-genre films from comedy to historical-geographical attracts the attention of a wide audience against the backdrop of competition in this area. Keywords and phrases: “author’s Kyrgyz cinema”, “nineties”, catastrophic theme, love theme, self-identification theme, nonconformism, perfectionism, film metaphor, movie genres: autobiographical triptych, tragicomedy, social satire, parable film, meditation film, historical film drama, musical.
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Ragpot, Lara. "Film as teacher education genre: Developing student agency in the production of #Taximaths – How children make their world mathematical." South African Journal of Childhood Education 4, no. 2 (December 24, 2014): 18. http://dx.doi.org/10.4102/sajce.v4i2.210.
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The article reports on the process of producing a film for students in a university course. The purpose of the production was to make local film material that could assist students in their learning of developmental cognitive psychology theory in general, but specifically also the mathematical cognition of children. Although the students in the production team set out as actors and technical helpers, they gradually appropriated their acting roles and the plot of the story to the extent that they learned the theory that the film was portraying. Not only did they show interest in the psychology texts and the story, but they also developed agency – they became the owners of the film. The argument of this paper is that a multimodal foundation in teacher education can give students multiple semiotic entry points, but also, if given the opportunity to make a dramatic film, they can learn the content of mathematical cognition while learning film production. The article argues that contemporary teacher education programmes are by their very nature briefed to be multimodal, because teachers’ work in schools in the 21st century requires more than language text and oral, in-person communication.
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Fried, Daniel. "Riding Off into the Sunrise: Genre Contingency and the Origin of the Chinese Western." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1482–98. http://dx.doi.org/10.1632/pmla.2007.122.5.1482.
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The paradoxical dependence of genre histories on historically accidental acts of naming and on transcendental critical imagination is demonstrated by the Chinese western, a little-understood genre that has become a major part of Chineselanguage cinema over the past two decades. After the genre was proposed in 1984 by the Chinese film theorist Zhong Dianfei, as a realist reaction against the ideological excesses of the Cultural Revolution, its ambiguous status as a Hollywood import quickly became a proxy for larger cultural battles over China's place in an American-dominated international cultural system. Moreover, despite assurances by Zhong and other critics that the genre was not susceptible to Hollywood influence, the production history of the genre from the late 1980s to the present demonstrates a pattern of generic influence and eventual fusion that tracks Chinese state-owned studios' evolution from subsidized propaganda organs to participants in a globalized entertainment industry.
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O’Halloran, Kieran. "Creating a film poem with stylistic analysis: A pedagogical approach." Language and Literature: International Journal of Stylistics 24, no. 2 (May 2015): 83–107. http://dx.doi.org/10.1177/0963947015571022.
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A film poem is a cinematic artwork that takes a written, often canonical, poem as its stimulus. Many are imaginative and arresting performances of poems, going far beyond the likely intentions of the poet into something completely new. However, with this genre, the poem’s stylistic detail is largely irrelevant to its visual realisation. I highlight how this limitation can be addressed by bringing film poems into stylistics teaching and assessment. After providing background on the film poem genre, I model an assignment where students draw on their cinematic literacy to dramatise a poem imaginatively. As with other film poems, the student creates a series of cinematic images and connects them to the poem’s lines, activating new meanings in them. In contrast with the traditional construction of film poems, the procedure involves another stage – the student also connects the images they have created to the poem’s stylistic detail. In turn, as I show, this extra connection helps drive the film’s narrative, adding to the creativity of the film. This staged procedure is different from established (pedagogical) stylistic practice where interpretation and stylistic analysis of a poem are simultaneous, with the stylistic analysis providing support for the burgeoning interpretation. To model this student assignment, I produce a film script of Philip Larkin’s poem, ‘Wants’. The script depicts the activities of a serial killer; some readers may find the script graphic.
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Haley, Madigan. "Toward Contemporary Novelism." Genre 53, no. 2 (July 1, 2020): 135–57. http://dx.doi.org/10.1215/00166928-8562669.
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This essay challenges a dominant way of plotting the novel genre’s history as a story of individual development, which is increasingly characterized by an identity crisis within the contemporary media landscape. As an alternative to this story, it develops a provisional account of “novelism” (adjacent to notions like lyricism and essayism) as a flexible and mobile mode of associative world-building across the arts. We can see novelism at play in the intermedial history of how novelistic forms and concerns informed the cinematic genre of the essay film. By recovering that history, from Sergei Eisenstein to Chris Marker, this essay helps explain what novelism does and why it makes sense to describe certain artworks as novelistic, even ones in nonliterary media. The concept of novelism not only applies to certain essay films, it also clarifies a recent essayistic or documentary turn in international fiction writing—involving writers such as W. G. Sebald, Valeria Luiselli, and Teju Cole—which some critics have interpreted as a sign of the novel’s exhaustion. This essay argues instead that such genre-bending works of contemporary fiction (and even nonfiction) are better understood as evidence of the current proliferation of novelism across the arts.
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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basis.v5i2.776.
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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.
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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basisupb.v5i2.776.
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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.
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Booker, M. Keith, and Isra Daraiseh. "Lost in the funhouse: Allegorical horror and cognitive mapping in Jordan Peele’s Us." Horror Studies 12, no. 1 (March 1, 2021): 119–31. http://dx.doi.org/10.1386/host_00032_1.
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Jordan Peele’s Us (2019) is an entertaining horror film that also contains a number of interesting interpretive complications. The film is undoubtedly meant as a commentary on the inequity, inequality and injustice that saturate our supposedly egalitarian American society. Beyond that vague and general characterization, though, the film offers a number of interesting (and more specific) allegorical interpretations, none of which in themselves seem quite adequate. This article explores the plethora of signs that circulate through Us, demanding interpretation but defeating any definitive interpretation. This article explores the way Us offers clues to its meaning through engagement with the horror genre in general (especially the home invasion subgenre) and through dialogue with specific predecessors in the horror genre. At the same time, we investigate the rich array of other ways in which the film offers suggested political interpretations, none of which seem quite adequate. We then conclude, however, that such interpretive failures might well be a key message of the film, which demonstrates the difficulty of fully grasping the complex and difficult social problems of contemporary American society in a way that can be well described by Fredric Jameson’s now classic vision of the general difficulty of cognitive mapping in the late capitalist world.
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Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (December 1, 2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.
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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?
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Yasa, Desak Putu Yogi Antari Tirta, and I. Nyoman Payuyasa. "PEMANFAATAN FILM DOKUMENTER THE COVE SEBAGAI MEDIA KAMPANYE PENYELAMATAN LUMBA." Gorga : Jurnal Seni Rupa 8, no. 2 (December 22, 2019): 440. http://dx.doi.org/10.24114/gr.v8i2.16072.
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AbstrakFilm dokumenter merupakan sebuah film yang menyajikan fakta kepada penontonnya dan dapat menjadi sebuah media kampanye mengenai suatu permasalahan. Film The Cove menampilkan kekejaman industri penangkaran dan pertunjukkan lumba-lumba dari sudut pandang seorang aktivis bernama Richard O’ Barry. The Cove kemudian tidak hanya menjadi sebuah film dokumenter, tapi juga menjadi media kampanye untuk bergerak melawan kekejaman terhadap industri tersebut. Metode yang digunakan dalam penelitian ini adalah metode kualitatif, dimana metode analisis data yang digunakan adalah metode kualitatif-interpretatif. Teori yang digunakan dalam penelitian ini adalah teori mengenai film dokumenter, genre dan gaya film dokumenter, unsur-unsur film dan teori komunikasi terkait dengan kampanye. Film The Cove menggunakan gaya participatory atau yang dikenal dengan istilah observasi partisipan. Gaya ini dapat membawa penonton merasa berada pada situasi yang sama dengan pembuat film sehingga dapat menimbulkan pengaruh yang kuat dalam diri penonton. Unsur-unsur dalam film The Cove terdiri dari unsur visual dan unsur verbal, dimana kedua unsur tersebut membangun satu kesatuan dalam film. Pemanfaatan The Cove sebagai media kampanye penyelamatan lumba-lumba mampu memberi dampak yang kuat di masyarakat berkat pemilihan gaya dokumenter serta pemanfaatan unsur visual dan verbal film yang tepat, sehingga pesan penyelamatan lumba-lumba dapat sampai kepada masyarakat.Kata Kunci: film dokumenter, media kampanye, cove.AbstractDocumentary film is a film that presents the facts to the audience and can be a media campaign about an issue. The Cove film shows the cruelty of the captivity industry and dolphin shows from the point of view of an activist named Richard O 'Barry. The Cove then not only became a documentary film, but also became a media campaign to move against cruelty to the industry. The method used in this study is a qualitative method, where the data analysis method used is a qualitative-interpretative method. The theory used in this study is the theory of documentary film, documentary film genre and style, elements of film and communication theory related to the campaign. The Cove film uses a participatory style, known as participant observation. This style can bring the audience to feel in the same situation as the filmmaker so that it can cause a strong influence in the audience. The elements in the film The Cove consist of visual elements and verbal elements, where the two elements build a unity in the film. Utilization of The Cove as a media campaign to save dolphins can have a strong impact on the community thanks to the selection of documentary styles and the use of appropriate visual and verbal elements of the film, so that the message of saving dolphins can reach the public.Keywords: documentary film, campaign media, cove.